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Journal of American Folklore 119.474 (2006) 504


Information about Contributors

Yiorgos Anagnostou is an Assistant Professor in the Modern Greek Program, Department of Greek and Latin, Ohio State University. He is interested in cultural translation and the interdisciplinary study of ethnicity and immigration in the United States from a cultural studies perspective. His many publications include "Private Heirlooms, Public Memories: Tradition and Greek America as Translation" (Gramma: A Journal of Theory and Criticism, 2004) and "Model Americans, Quintessential Greeks: Ethnic Success and Assimilation in Diaspora" (Diaspora: A Journal of Transnational Studies, 2003). His current book project develops a politics of metaethnography that interrogates dominant academic representations of "white ethnicity."

Danille Christensen Lindquist is a doctoral candidate in the Department of Folklore and Ethnomusicology, Indiana University, Bloomington. Her dissertation, which she is completing with the aid of a dissertation-year fellowship, traces the contours of contemporary scrapbooking, a vernacular artistic form, social practice, and entrepreneurial venture dominated by women. The work explores how scrapbook practitioners manage and refigure a range of social valuations, especially those concerning kinwork and other forms of gendered labor. Interested broadly in the ways cultural forms are allied with and informed by ideology, she has also studied intersections between Latter-day Saint theology and language use and written about slack key guitar (kī hō'alu) and identity discourse in Hawai'i.

Duncan Vinson received a PhD in ethnomusicology from Brown University in 2004. He now holds adjunct positions at Suffolk University in Boston and at Curry College in Milton, Massachusetts. During the fall semester of 2005, he was acting director of the Suffolk University Vocal Ensemble. Vinson is an Americanist with an interest in group singing traditions and the role of religion in the musical life of the United States. His dissertation was based on two years of fieldwork with amateur choral singers in New England, and he has also participated in Sacred Harp singing events for a number of years.

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